Meaning: The quote "This kind of painting with its large frames is a bourgeois drawing-room art. It is an art dealer's art-and that came in after the civil wars following the French Revolution" by Edvard Munch sheds light on the changing nature of art and its consumption in the wake of historical upheavals. Edvard Munch, a renowned Norwegian painter and printmaker, is best known for his iconic work "The Scream," which has become a symbol of existential angst and the human condition. His commentary on the nature of art and its reception provides insight into the socioeconomic and cultural contexts that shape the art world.

Munch's assertion that "this kind of painting with its large frames" refers to a specific style of art that was favored by the bourgeois class during a certain period. The "large frames" may allude to grand, ornate frames that were used to display artwork in the opulent drawing rooms of the wealthy. The term "bourgeois drawing-room art" suggests that this type of art was associated with the tastes and preferences of the affluent, reflecting their social status and cultural inclinations.

Furthermore, Munch's remark that this art is "an art dealer's art" highlights the commercialization and commodification of art during the period he references. The emergence of art dealers as influential intermediaries between artists and patrons signified the increasing market orientation of the art world. Art dealers played a pivotal role in promoting and selling artwork, shaping trends, and influencing the tastes of collectors and connoisseurs.

The historical context provided in the latter part of the quote, "that came in after the civil wars following the French Revolution," situates Munch's commentary within a specific period of upheaval and transformation. The aftermath of the French Revolution and the subsequent civil wars brought about significant social, political, and economic changes across Europe. These upheavals had far-reaching effects on the established order, including the patronage and consumption of art.

The French Revolution and its aftermath marked a turning point in the history of art, leading to the rise of new artistic movements, the reconfiguration of patronage systems, and the redefinition of the artist's role in society. The revolutionary fervor and the ensuing political and social disruptions challenged traditional artistic norms and hierarchies, paving the way for new forms of expression and modes of artistic production.

Munch's commentary underscores the interconnectedness of art, society, and commerce. It reflects a critical perspective on the influence of social class, commercial interests, and historical events on the production, circulation, and reception of art. By highlighting the association of certain art forms with the bourgeois elite and the role of art dealers in shaping artistic trends, Munch invites contemplation on the complex dynamics that underpin the art world.

In conclusion, Edvard Munch's quote offers valuable insights into the social, economic, and historical dimensions of art. It prompts us to consider the interplay of class, commerce, and historical context in shaping artistic practices and tastes. Munch's observations resonate with broader discussions about the relationship between art and society, shedding light on the multifaceted nature of artistic creation, dissemination, and consumption.